Choosing a camera for production nowadays is a difficult task. Visually, off-the-
shelf cameras can almost perform on an equal footing with their high-end
“broadcast only’ competitors. Technically, the gap between camera types has
diminished and pricing has become a lot more manageable. The choice of a camera
must surely be determined by what the end product is and ultimately how much one
can afford to spend in getting it done.
For me, a good starting point is taking advice from objective, independent
professionals. The European Broadcast Union (EBU) tirelessly researches, tests and
issues recommendations on all aspects of the broadcast chain.
When looking at cameras the EBU states that “High Definition Television (HDTV)
must have a minimum quality standard in order to satisfy three elements: the
audience, the international exchange of programmes and the archive process and
therefore recommends that a practical approach be taken to maximise the number
of affordable HDTV programmes by acknowledging the current technology
limitations and to grade, or tier, HD cameras according to their technical
specifications and measured quality based on the results of tests. Knowing which
quality tier a camera corresponds to will enable its targeting to programme genres
and applications, a process that will help maintain the highest quality that is
practical under a wide range of conditions and, in the case of news, to balance
speed of delivery against quality.’
Very simply, the EBU’s camera testing is a combination of analytical and subjective
assessment, covering five areas that are specific to the actual camera; noise,
sensitivity, exposure range, resolution and alias artefacts. It is valuable to know
that the tier levels are updated annually as technology advances and as of March
2015 the tiers can be summarised as:
• UHD1 Tier 1: Full Resolution Ultra High Definition Cameras capable of delivering
the full UHD1 resolution of 3840 x 2160 or greater
• UHD1 Tier 2: Ultra High Definition Cameras with UHD1 outputs but deliver a
resolution between 1920 x 1080 and 3840 x 2160
• HD Tier SP: Specialist or special effects cameras
• HD Tier 1: Shoulder-mounted professional single or three-sensor camera
• HD Tier 2L: (Long-form) professional cameras
• HD Tier 2J: (Journalism) professional cameras.
• HD Tier 3: Small, high quality semi-professional for production use
• HD Tier 4: Approved small consumer HD cameras
Choosing the right tool
The market for new cameras has been slightly less frenetic over the past 12 months
compared to recent years. The digital era has definitely calmed down as the rush
for 4K compliance may have finally reached saturation point…for now that is.
Cameras are essentially tools to help you tell stories; good tools make your job
easier and choosing the right tool depends on the complexities of the job at hand.
As Henry Smith (SASC), DOP and film lecturer at Open Window aptly says,
“Choosing cameras is a bit like painting. You must decide on what “look’ you are
going for and then decide on your camera of choice. Are you going to paint in
acrylic or water-paint? All digital cameras “look’ different for various reasons, so
the cinematographer must make an aesthetic choice to suit his or her project.’
Smith adds, “You also need to determine what camera your project mandates: I
won’t shoot a Survivor series on a DSLR – although I will definitely carry one or two
for beauty shots – you need a shoulder- balanced, servo-zoom-lensed, solid
machine like a Sony PMW 400 or 500.’
DOP Willem Viljoen owner of TenEighty is a big Sony fan and says, “I own a Sony
F55, and chose it above the Alexa or the Red after careful consideration. I wanted a
camera that ticked all the boxes: 4K ability, Super 35 sensor, 14 stops latitude and
dual recording ability (XAVC and 16 bit RAW). Viljoen adds, “The F55 is great in low
light, has the capability to record 240 frames per second slo-mo, whenever I want it
(the Alexa requires a rental fee to activate slo-mo). The fact that the camera does
not crop the sensor when you change between 4K and 2K, like the Red does, was
also a major factor.
“The most exciting thing for me is how beautiful the 16 bit RAW is and how much
latitude it has. The knowledge that I captured the biggest dynamic range and colour
gamut is a great comfort. The end result is always magnificent.’
Peter Lamberti of Lion Mountain Media and CEO – Aquavision TV Productions agrees.
“I think the Sony F55 is one of the best cameras around. It has the Sony record of
durability, although ergonomically it is not up to the standard of the old cameras.
Recording in RAW is really cool because you get the 14 stops of exposure latitude.
The F55 can shoot up to 240 fps and it can also shoot in 4K, but if cost is an issue,
then I would look at the FS7.’
Sony’s FS7 turned a lot of heads a NAB this year as a run-and-gun camera that can
easily impersonate higher end cameras at a lower cost. Marius Van Straaten of
Visual Impact speaks highly of the FS7 and a newbie from Blackmagic Designs. “In
my opinion the cameras making waves at the moment are the FS7 and the
Blackmagic URSA Mini. Both are production cameras for everyday filming and have
the form factor of the run-and-gun, cinema verite era. In other words cameras that
sit easy on the shoulder, are lightweight and record sound easily. The URSA mini
has the first sensor Blackmagic designed and did not buy off the shelf. We have not
done any field tests yet, but if this 4.6K sensor camera is any good and matched
with a price tag of about $5 000 we have a very competitive package at a very
good price,’ says Van Straaten.
Finding the right price
Price has a lot to do with decision making when purchasing a new camera and bang
for buck has meant that a lot of DSLR cameras are making the cut. Many players in
the rentals sector are currently finding the camera market to be too scattered,
fragmented and fickle to single out any top models. Having said that, they are also
finding that there is considerable demand for cameras that would be placed in the
lower to middle tiers of the EBU’s rankings. For operators who can’t afford the Reds,
Alexas and F55s, DSLRs are the weapon of choice. Sony’s A7S “DSLR-like’ mirrorless
camera is a big mover at the moment. Johannesburg sales and rental facility The
Magic Lightbox Company, for example, has experienced extremely high demand for
the A7S since the beginning of 2015.
For CAM-A-LOT’s Glen Theron, the CANON 5D Mk3 is at the top of the podium as a
rental for shoots that require that shallow depth of field look while Sony’s PMW300
& Panasonic’s HPX250 have been very popular for shooting insert material for
magazine-type shows. “At the middle lower end of the scale, Sony’s NX3 is a real
winner. Panasonic’s AC90 & Sony’s NX70 (recently replaced by PXW-X70) – are the
real work horses, these cameras are incredibly popular,’ Theron adds.’So we have
many shooting genres, with many cameras to choose from and normally one small
budget, but with the selection of gear out there and all the available cameras being
of pretty good quality, there is something for everyone in the video market.’
Henk Germishuysen, of broadcast equipment rental specialists Puma Video, says
that just like a toolbox where you have different spanners and screwdrivers that
apply to different solutions, rental companies need to keep a wide variety of
cameras for the range of clients’ needs.
“Cameras have become smaller and shoot better quality, allowing entire drama
series to be filmed on full frame DSLRs, 4K doccies on 1/3′ sensors, commercials in
RAW on S-35mm and “reality’ type shows on good old HD 2/3′ imagers. In my book
without doubt, the most cost-effective, versatile and “practical’ camera available in
our store is the Sony FS7 4K camcorder. This camera is doing great work on natural
history/wildlife productions but is also a good all-rounder. Then of course there’s
the Sony F55. We’re a bit biased in this because we know all that this camera is
capable of. With the various lens options available it has been doing commercials,
music videos, documentaries, high-end corporate productions and low-budget
features.’
No camera is perfect for every job. There is definitely an international trend that
leans towards rentals for specific needs and the purchase of a general “one size fits
all’ that is best for the majority of the work that can also be used as a B-roll
camera. The big conundrum is that technologically the camera you buy today is
obsolete tomorrow so do your homework before you buy anything and don’t be
afraid to ask.
As Germhishuysen concludes, “Many companies and owner/operators manage with
a one-size-fits-all. As rental houses we offer them and others options and solutions
so that they can apply the right tool to the job.
“We very often offer advice and suggestions to new clients on what will be most
suitable but always recommend that a DOP make the final decision.’
Compiled by Ian Dormer 2015 from data supplied by
manufacturers
